Calibration 2g.6 — validation humaine du tagging

Rapport · Re-roller

Legende des roles

RoleDefinitionExemple Brihaddesi
mainVers principal du texte (le contenu canonique de l'ouvrage)धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inlineCommentaire interligne en petits caracteres (variante manuscrite, glose)मत्सरी / अङ्धी / ₹क
editorial_bracketAjout editorial entre crochets [...] OU note avec marqueur ° / ॰[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnoteNote de bas de page (au bas de la page, separee du texte)<sup>१३५</sup>षाडवा:
page_headerEn-tete de page (titre du livre, en haut)BRHADDESI
page_footerPied de page (texte au bas, sous le contenu)(texte de pied de page)
page_numberJuste le numero de page, isole (en haut ou en bas)181 / 70 / 46
section_headerTitre d'une section ou sous-section dans la page[२. आर्षभी]
captionLegende d'une figure ou tableauFig. 1 : svaramaṇḍala
list_itemItem d'une liste enumere1. ... 2. ... 3. ...
tableLigne d'un tableau de donnees(colonnes alignees)
verse_numberNumero de verset isole (souvent entre dandas)॥१९०॥ / ॥७८॥
unknownNon classe (l'algo n'a pas su decider)—
5 demi-pages random (seed 21524). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p022 RIGHT — 26 lignes

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1 E. annotation_inline
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2 27 page_number
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3 TRANSLATION page_header
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4 In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are main
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5 always to be omitted respectively (for making ṣāḍava and auḍava forms). main
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6 Şadja and pañcama are to be known as the two apanyāsas. One should move main
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7 from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this main
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8 (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be main
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9 accorded abundant usage. Sañcāra (to and fro movement) is to be rendered main
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10 in this (jāti) between ṣaḍja and gāndhāra by the performers. main
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11 <math>(222-224)</math> annotation_inline
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12 Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama main
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13 are the two amsas and the auduvita (pentatonic) form is not desirable in it. main
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14 (225) annotation_inline
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15 In madhyamā there are five amśas, excepting the two svaras composed of main
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16 two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming main
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17 the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by main
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18 omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and main
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19 madhyama are abundant. main
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20 (226) annotation_inline
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21 Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; main
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22 pañcama is amsa in it. main
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23 (227) annotation_inline
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24 In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. main
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25 These two alongwith niṣāda are apanyāsa and there is the sangati (concert) main
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26 between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse. main
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vol_I_p040 LEFT — 38 lignes

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1 62 page_number
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2 <b>BRHADDESI</b> page_header
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3 स X गमप ध नि main
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4 निस X गमप ध annotation_inline
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5 धनिसxगमप main
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6 प ध नि स 🗶 ग म annotation_inline
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7 म प ध नि स 🗶 ग main
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8 गमपधनिस 🗶 main
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9 . annotation_inline
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10 x गमप ध नि स main
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11 ऋषभहीनाः। annotation_inline
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12 [सरिगम 🗶 धनि editorial_bracket
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13 निसरिगम 🗶 ध main
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14 ध निसरिगम 🗶 annotation_inline
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15 X ध निस रिगम main
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16 म X ध नि स रि ग annotation_inline
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17 गम 🗶 ध निस रि main
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18 रिगम 🗶 ध नि स annotation_inline
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19 पञ्चमहीनाः। main
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20 सरिगमपध 🗶 annotation_inline
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21 <b>X</b> स रिगम प ध main
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22 ध X स रिगमप annotation_inline
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23 पध X स रिगम main
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24 म प ध 🗶 स रि ग annotation_inline
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25 गमपध X सरि main
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26 1 page_number
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27 रिगमपध 🗶 स main
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28 निषादहीनाः । इति षाडवाः। main
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29 . annotation_inline
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30 . annotation_inline
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31 [ X रिगम X ध नि ] editorial_bracket
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32 नि x रिगम x ध main
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33 ध नि X रिगम X annotation_inline
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34 [ Хधनि X रिगम editorial_bracket
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35 म X ध नि X रि ग main
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36 गम X ध नि X रि annotation_inline
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37 रिगम 🗶 ध नि 🗶 main
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38 सपहीनाः। ] editorial_bracket
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vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
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2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
parent ligne 17
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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vol_I_p007 RIGHT — 81 lignes

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1 CONTENTS section_header
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2 ix table
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3 Foreword by Kapila Vatsyayan table
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4 XI table
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5 Introduction table
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6 xvii table
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7 <b>Abbreviations</b> table
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8 Brhaddesi of Śri Matanga Muni table
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9 3 page_number
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10 <b>Text and Translation</b> table
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11 3 page_number
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12 Section I: Deśī table
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13 3 page_number
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14 The desi nature of Dhvani table
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15 5 page_number
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16 The definition of desi and marga table
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17 7 page_number
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18 Section II: Nāda table
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19 7 page_number
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20 The glory, origin, definition and kinds of Nāda table
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21 9 page_number
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22 Section III: Sruti table
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23 9 page_number
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24 The definition of śruti and its numeration table
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25 Five alternatives in the relationship between sruti and svara table
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26 19 page_number
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27 The demonstration of visual representation of srutis by table
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28 25 page_number
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29 Mandala-prastāra table
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30 <b>29</b> table
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31 Section IV: Svara table
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32 29 page_number
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33 The laksana of svara table
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34 The fourfoldness of svaras according to kinds beginning table
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35 33 page_number
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36 with vādin table
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37 35 page_number
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38 The samvādi-mandala in sadjagrāma table
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39 37 page_number
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40 The anuvādi-maṇḍala in ṣaḍjagrāma table
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41 39 page_number
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42 The vivādi-maṇḍala in ṣaḍjagrāma table
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43 41 page_number
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44 The saṃvādi-maṇḍala in madhyama-grāma table
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45 41 page_number
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46 The anuvādi-maṇḍala in madhyama-grāma table
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47 43 page_number
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48 The vivādi-maṇḍala in madhyama-grāma table
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49 The sevenfold combination of svaras according to the table
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50 43 page_number
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51 types beginning with arcika table
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52 43 page_number
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53 The etymology of svara-names table
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54 45 page_number
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55 The castes of svaras table
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56 45 page_number
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57 The drawing out of svara signs as contained in agama table
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58 47 page_number
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59 Assignment of community, colour and the like to svaras table
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60 51 page_number
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61 Section V: Grāma-mūrchanā table
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62 51 page_number
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63 The treatment of grāma table
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64 <b>53</b> table
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65 The treatment of mūrchanā table
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66 57 page_number
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67 Mūrchanā-maṇḍala table
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68 67 page_number
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69 The distinction between Mürchanā and tāna table
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70 69 page_number
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71 The yajña-names of tanas table
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72 <b>73</b> table
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73 The performance of tanas table
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74 83 page_number
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75 The mūrchanā of twelve svaras table
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76 85 page_number
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77 Section VI: Varņas and Alankāras table
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78 85 page_number
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79 The Varnas table
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80 89 page_number
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81 The Alankaras table
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vol_I_p024 RIGHT — 35 lignes

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1 31 page_number
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2 TRANSLATION page_header
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3 It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the main
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4 undifferentiated state there is one svara; in the form of sadja and the like svara is main
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5 many. annotation_inline
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6 Similarly also said Kohala - annotation_inline
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7 "Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā main
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8 etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and main
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9 is to be combined with alankāra10 and (used in) rasas." 11 main
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10 (It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained main
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11 in or permeating everything). annotation_inline
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12 Similarly said Kohala - annotation_inline
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13 "By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all main
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14 'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka main
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15 (pervasive) (and) para (beyond).15 main
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16 (Anu. 17) annotation_inline
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17 But how is the svaratva 16 of (svara-names) şadja and the like, on account of main
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18 their being consonants? If the svaratva of consonants is spoken of, then there main
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19 should be the svaratva of (consonants) beginning with ka? main
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20 Here it is being said (answered) that there is the svaratva of only şadja and main
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21 the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of main
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22 (consonants) beginning with ka. main
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23 But why (or how) is the uncommon or special nature of sadja and the like? main
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24 (Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones) main
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25 the asadharanatva (uncommonness, special nature) of svaras is there. main
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26 So did say Maheśvara<sup>19</sup> in Kohala — main
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27 "The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks main
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28 gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time main
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29 (common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy main
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30 season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same main
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31 way, the elephant always speaks niṣāda." main
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32 Or, only sadja and the like have uncommonness or special nature because of main
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33 their movement in upward sound, or şadja and the like are not svaras, only main
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34 (vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the main
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35 pronunciation of (vowels) beginning with ākāra, so (it is said). main
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207 lignes a valider — change uniquement les roles incorrects.